"As for producing, I always say I'm someone who just lets the
tapes roll, but anyone who can't write songs, can't sing, can't produce, can't
perform really shouldn't be working with an artist. You need to relate on their
level, if for no other reason than you can stay out of their way when you need
to.

All of the other staff producers at Columbia were tapping their feet out of
time and whistling out of tune and picking songs based on what their boss liked
last week so they could keep their jobs three more months. But I figured Dylan
knew something none of us knew, and I wanted to let him get it out.

Also, I
should tell you that though “Like a Rolling Stone” was on Highway 61, it was
produced by Tom Wilson. I produced all the rest of the songs on it."

"For John Wesley Harding, he was staying in the Ramada Inn down
there, and he played me his songs and he suggested we just use bass and guitar
and drums on the record. I said fine, but also suggested we add a steel guitar,
which is how Pete Drake came to be on that record."

"I always used three microphones on Dylan, 'cause his head
spun around so much. I used a big [Neumann] U47 on him, same as I used on
Johnny Cash later. I would put a baffle over the top of his guitar because he
played while he sang lead vocals. I didn't use any EQ on the band, just set the
mics up right to make each instrument sound the best it could. I used some EQ
on Dylan's voice."

"I never cared what he did in the studio. I was trying to
get down anything he was doing next, so we could have a record of
it–so the people could hear it all over the world. I figured that was my job."